Jane completed her MA Fine Art at Sunderland University in 2003, and also studied in Cyprus and Georgia (USA). She now lives and works in West Penwith, Cornwall. Her art practice ranges from large scale paintings, multi-media objects, installation and artist-led projects. The starting point for a series of work often references a specific place. The long-held connections with familiar places, plants and landscapes continue to form an accumulative presence within her work.
Jane has been awarded a number of Arts Council England grants including ‘Roomers’ — a print installation made in the empty room of an uninhabited house, and TEND — a collaborative residency at Trewidden Garden, near Penzance.
She works with the everyday, inconspicuous details of our natural surroundings, found fallen leaves get surrounded with a skilfully created crocheted halo of cotton yarn, others are coaxed into finely constructed three-dimensional shapes. Pieces of wood, some bleached and weathered are joined with or wrapped into delicate webs of needlework. Entire branches and leaves find a new life and expression.
There is a fine balance in her work between fragility and strength; literally, when it comes to pulling a fine thread through a brittle leaf or thin dry piece of wood, but it can also be transferred to a wider context – the tenderness and tension in human connections, the transient yet enduring beauty of nature that can be found in the smallest detail, vulnerability and resilience reflecting nature as a whole or the stories of individual beings.
‘Between stimulus and response is a space,
In that space lies our ability to choose our response,
In that response lies our growth and freedom’.
I love the essential tension between the inner and outer spaces we inhabit: the gap between our physical experience and our response to it. Process and the act of making in its many forms enables me to see how I feel about something. It makes the private public.
Recent projects and exhibitions have included meditations upon and investigations of architectural and natural spaces that I have immersed myself in. The artwork generated includes painting, sculpture, drawing, site-specific pieces and film. Using different materials and processes, the spaces unravel and find form around me, revealing their details and their idiosyncrasies.
Ilker Cinarel Turkish – British Artist, graduated in MA Fine Art Contemporary Practice, Falmouth University in September 2011 with a Distinction and winner of Sandra Blow Award 2011 and 2014 Inland Art Festival Award. Cinarel works individually and collaboratively across painting, sculpture, video, installation, spatial intervention, sound, text, performance and curatorial practice. Cinarel multidisciplinary artist, his working practices drawing, performance, video and installation. Ilker is now living and working in the UK, London – St. Ives and Istanbul. Works have been exhibited in the 6th Istanbul Biennale –‘Passion and The New Wave’ and in exhibitions both nationally and internationally. Research projects have included an internship with Hoeschst and Retsch porcelain companies in Germany. Recent works are held in private collections.
Cinarel also worked in 2000 – 2009 in the London fashion houses of Vivienne Westwood and Giorgio Armani.
Contact : email@example.com
I work mostly from memory – the scent of a flower, a landscape absorbed while walking or the reflection of experience.
Recently not far from home in the corner of field I heard a skylark, its high frequency song demanding my attention – I’m moved. it has made an impression on me that is hard to explain – I may not actually paint that skylark, but there is a good chance that the memory of that encounter will appear in a painting in the form of a brush stroke, a mark made in graphite or a scratch of the pallet knife – it is this distilling of things that make-up my practice.
Former fashion designer, Emma Griffin, is a self-confessed perfectionist and daydreamer who visualises stories using photography as her medium, shooting mostly in Cornwall, she builds a different set for each project and directs the whole production. “I love daydreaming and I’m constantly creating new stories and imagining how I can visualise them,” she says. “It never stops, even on a day off. I can step into my make believe world whenever I want and do anything.
Donna Mitchell is a graduate of Winchester School of Art and the Royal College of Art.
Her constructions are formed from found objects and waste materials gathered from sites local to the area. Her works often only exist for the duration of the show, outdoor works are left in the landscape where they were asembled.
“Much of my inspiration for work comes from the geological and human shapes I see in the mining waste sites and fly tipping areas around me and the observation of the local town life.
I construct my work using throw away items such as discarded clothes and everyday domestic items.
I could just as easily get an idea for work by noticing the way someone has adjusted their belt around their body as the placement of a bed sheet in a layby over the bins waiting for collection.”
Using a process similar to that of an archaelogist she reveals the spirit of what lies beneath and around us in everyday life, the things which we are too busy to see or have forgotten to look for. These strange yet familiar shapes have environmental and animalistic qualities which can be at the same time vulnerable and oppressive.
These forms speak of our own existence and the human condition, challenging us to face our vulnerabilities.
I see my work as an analysis of today’s social, psychological and political issues set within an historical context. My practice has a strong narrative thrust, drawing in part from the rich fund of imagery I find on the internet and sourced photographs with which I use to create often complex, conceptually layered pieces. Collage plays an integral role in my work, not only through the juxtaposition of images but through experimental sound and video editing in response to an on-site setting such as the Walking into Memory project. These run alongside and feed back into my painting practice.
Influenced by immersive subjects, musical composition, nature, and everyday life along side personal narratives, my work explores a continuously unfolding visual, spatial and psychological experience.
Within my paintings I re-evaluate the complexity of visual representation and physical experience through a combination of layering, fragmentation and movement. I constantly explore and question the natural world that surrounds and defines us- captivated by the constant flux, transformations and cycles that exist internally and externally.
Caroline Pedler is a children’s book Illustrator by day and a fine artist by night. All the time Caroline has been working as a commercial illustrator, she has fostered a more authorial practice where she exhibits work, collaborates with fellow artists and runs creative workshops. It was on the MA Illustration-Authorial Practice in 2009-11 that the antidote to her commercial work was born and now offers the contrast of light and dark while balancing the push and pull of the brief, over the ebb and flow of her natural creative inclination.
Caroline’s work is in part a response to her life as an adult, engaging in constant conversations with herself, offering thoughts and questions we all have experience of in being a child. Thinking of the relationship we have to that child growing up and becoming an adult, juggling childhood aspirations, expectations and responsibilities, as well as working fulltime to deadlines and demands of publishers and clients is a daily activity for Caroline. This daily commercial pressure pays the bills but the outfall is that a there is now a compulsion to create purely from the unconscious soul. Meaning a more visceral relationship with her tools and media.
The authorial marks she makes are therefore in direct response to the prescribed nature of the work she does to brief on a daily basis, offering a sense of release, satisfaction and peace. Using her natural eye for colour, space and composition in its simplest form, without meddling from external forces creates a feeling of coming home, security and comfort that her commercial work doesn’t offer. Like a child who takes their toy bear to bed every night, a comfort blanket.
Christina Romero Cross
My work explores Home as an idea, and Belonging as a possibility. But it is also about the memory, and intrinsic to my work is the notion that our memory is not a recording device. It is fallible, imprecise, and time can corrupt it. Therefore the works I produce are imprecise, sometimes confusing, multi-layered and multi-media. I create installations and works that observe and reflect the memory contained in a place. Not through drama or sentimentality but through layers of every-day memories built up over time.
Jayne Anita Smith
Smiths drawings and paintings explore the fallibility of the human condition. Promised the sublime through a manufactured, false beauty, flawed individuals search for the ‘otherness’ in relation to the self. Seeking the promised land they are engulfed into a labyrinth of fractured congestion; blinded by toxic temptations and dark desires. Suspended by the threads of their past failures and repressed memories, they cast the shadows of their own destruction.
Born in London, Smith completed her BA (Hons) Fine Art at University College Falmouth and now lives and works in Penzance. She has exhibited across the UK, has been selected for the RA Summer Show 2015 and short listed for a number of prizes including the Mostyn Open and the Threadneedle Prize
My motivation has always been the act of finding my own figuration through drawing; the working process of which is at the very centre of how I work. Born and raised in the foothills of Western Canada, Laurie grew up with a deep respect for nature; specifically the relationships we as human beings have with it. Her drawings are as emotional as they are intellectual and grounded in her everyday. “My relationship with the landscape is very sensory, leading me to approach drawings as I would a portrait, where time and space enter the work in the form of many layers. It is only the part that is beautiful and fleeting in its simplicity, and composition, that gets recycled. It is the memory behind these encounters along with continued memory of the working process that pushes my work. There is a constant layering and displacing until there is simply a ‘humanness’ within.”
In 2015, Laurie was elected a Royal West of England Academician. She has also been a part of and continues to exhibit in solo and group exhibitions in Canada, Switzerland and England including collaborating on interdisciplinary, performance and design based projects. Laurie also has a BID in Design from the University of Manitoba. In the UK she continues to exhibit at the RWA, including DRAWN 2013 & 2015 receiving the 2010 drawing prize, and recently at London AAF’s, the Mall Galleries and Badcocks Gallery who represents her in the South West.
‘My mind is constantly exploring, gathering, digesting then producing’
Claire graduated from Falmouth School of Art, Winchester School of Art and The Bristol Old Vic Theatre School where she studied Historical Costume Design and Construction.
Emma Saffy Wilson
Soil and mould are the raw materials of Emma Saffy Wilson’s practice. These organic matter, essential to our fragile earthly existence, are often disregarded as repulsive, something to be scrubbed away in the relentless battle for sanitisation. Alluding to the futile endeavour to apply order to disorder the artist cultivates mould, forms mud and frames soil; exerting her human will on unstable materials. By nature and design her work is ephemeral.
It is the cultural significance of both dirt and mould that is critical for Wilson. The universal subjects of growth and decay, fertility and death are inevitably interrogated when working with such elemental substances.
( w) http://www.emmasaffywilson.com
Interweaving motifs and ideas from historical paintings with contemporary
concerns, Lisa Wright’s work moves between and through different times.
Wright’s figures hover on the brink of adulthood, in the curiously heightened,
suspended state of adolescence. Her recent work pulls at the threads of a
creative tapestry which resonates with both the ancient and the profoundly
Lisa Wright b.1965 England, studied at The Royal Academy Schools, London and
now lives and works in Cornwall. Wright has exhibited extensively in numerous
solo and curated exhibitions, including the significant ‘Art Now Cornwall’ at Tate st
Ives. Her work is held in many corporate and private collections and she was
artist in residence with The Royal Shakespeare Company throughout the two year
period of the ‘Histories’ cycle. Recent work has been exhibited in New York and
Hong Kong and in group shows including ‘Vestige’ Coates & Scarry London,
‘Unsettled’ Enys House, Cornwall and ‘Anthology’ at Charlie Smith Gallery, London.
Wright’s work has been selected for the Royal Academy’s Summer Exhibition for
the last twenty two years and she has won major awards including the 2009
National Open Art Prize, The Hunting Art Prize, and most notably, The
Threadneedle Prize in 2013.
To live in the modern world is to participate in a shifting uncertainty. Experience is fragmented and meaning ambiguous. What seems to be apparent on the surface, can prove to be something else entirely underneath; interpretation varies from one person to another.
Pippa Young is interested in ideas of subjective and objective reality. Both from a psychological point of view — the nature of the reality we construct around ourselves from the fragments of information we receive; and the representation of reality — through painting and photography, and the differences between them. Her aim has been to develop a visual language that reflects contemporary concerns, as well as the memory and history which underpins where we are now.
Having graduated from Falmouth University in 2012, Pippa Young now exhibits throughout the UK. She has been shortlisted for a number of awards including: 100 painters of tomorrow, The Beers award for emerging art, The Threadneedle exhibition and was selected by SaatchiOnline for their ‘Artists to invest in’ feature. She has a solo show of her drawings in Edinburgh, opening on 16th October.
Rafał Zajko, artist, born in Poland, lives and works in London. Recent works include the performance Silent Citadel (2014) with Jonathan Baldock at Matt’s Gallery, and Sunscreen(2015), a commision by EM15 for 56th Venice Biennale. He is organiser of MONO, and was recently selected forSyllabus, year long programme between Wysing Arts Centre, Eastside Projects, New Contemporaries, S1 Artspace, Spike Island and Studio Voltaire